Threeway

“Looking Forward, Looking Back”

(Jazz Cat Records JCCD15)

Threeway is the long running drummer-less ensemble led by Yorkshire based bassist and composer Ben Crosland. 2014 will represent the tenth anniversary of the founding of the group and hence “Looking Forward, Looking Back” represents an apt title with Crosland describing the album as “a collection of old and new songs”. It’s the third Threeway album following the release of the critically acclaimed “Conversations” (2005) and “Songs Of The Year” (2009), the latter reviewed elsewhere on this site.

The line up of the group has remained constant with Crosland joined by Steve Lodder on piano and keyboards and Steve Waterman on trumpet and flugelhorn. In 2012 the core trio was augmented by the horns of Martin Shaw (trumpet/flugel) plus Mark Nightingale and Barnaby Dickinson (trombones) to form the Ben Crosland Brass Group, the sextet recording the album “An Open Place”, a collection of pieces inspired by works of art at the Yorkshire Sculpture Park. It’s another strong addition to the Crosland canon and is also reviewed elsewhere on The Jazzmann.

Like its predecessors the new album is released on Crosland’s own Jazz Cat record label but this time round Threeway are augmented on approximately half the tracks by the vibraphone playing of special guest Jim Hart, one of the brightest young jazz musicians to have emerged in recent years and a bandleader in his own right. Hart is an excellent addition to the already distinctive Threeway sound and his contribution adds much to the success of the recording.

Crosland specialises on electric bass and dedicates “Looking Forward, Looking Back” to the memory of Jeff Clyne   (1937-2009), the great English bass player who had a profound influence on Crosland’s own playing. In the main the thirteen pieces are Crosland originals with Waterman contributing two items and Lodder a single composition. Most of the pieces are previously unrecorded but some have been reworked from a quartet format while others have been included in the trio’s live sets for some time, hence the album subtitle. 

Hart is present on the spirited opener “The Corridor Of Uncertainty”, the title almost certainly a cricket reference. The piece gives notice that Threeway’s blend of chamber jazz is far from fey and effete, the rhythmic drive of Crosland’s bass sees to that. Meanwhile there are pleasantly sparkling solos from Waterman on trumpet and Hart at the vibes, the latter’s mallets positively dancing over the metal bars.

“Song For Dorothy” is a beautifully melodic ballad with Crosland setting the tone with a delightfully liquid and lyrical solo. His delicate grooves then underpin similarly tender and lyrical statements from Lodder on acoustic piano and Waterman on flugelhorn. The tune finitially appeared on the 2004 quartet album “Last Flight Out”, of which more later.

Hart returns to the fold for “Soul Sample” which introduces a funkier side to the band as Lodder moves to electric piano, dovetailing superbly with Hart as Crosland’s slinky grooves propel the piece forward. There are bright and breezy solos from Hart and Lodder as Waterman concentrates on stating the melody. “Chamber funk” -  a new genre perhaps?   

“Destination Unknown” is the first item from the pen of Steve Waterman and is a tune that has featured in Threeway’s set lists for some time. Indeed I saw it performed at a hugely enjoyable show by the trio at the Lichfield Real Ale, Jazz & Blues Festival in 2012 but the tune has been around since at least 2004 and appeared on Crosland’s quartet album of that year “Last Flight Out” (featuring Waterman, guitarist Stuart McCallum and drummer Dave Walsh). It’s one of the more forceful items in the group’s repertoire with Lodder’s percussive piano underpinning Waterman’s bright and melodic trumpet soloing. Waterman is a superb technician and one of the UK’s most fluent and versatile trumpet soloists. He’s in particularly good form on his own tune with Lodder matching him every step of the way, ably supported by Crosland.

Crosland’s darkly mysterious “CQD” reintroduces Hart’s vibes which dovetail neatly with Waterman’s velvety, shadowy flugel lines. Hart’s own solo is richly sumptuous with Lodder offering empathic support. There’s also another fine example of Crosland’s fluently lyrical bass soloing. 

“Blues For Jeff” is a further dedication to Clyne, a delightful slow blues based around Crosland’s walking bass line and with subtly blues tinged solos from Waterman and Lodder. Also played at the Lichfield performance it’s a delightful homage to Crosland’s former mentor and includes a suitably languid and bluesy electric bass solo.

Lodder’s contribution with the pen is the quirkily titled “Modest Earner Ernie’s Scarborough Seaside Escape”. A quartet performance with Hart on vibes and the composer on electric keyboards the music is suitably eclectic with hints of English prog in Lodder’s keyboard solo. Crosland enjoys some cerebrally funky bass lines and there are some fine moments from Hart and Waterman.

Crosland’s “Lost Weekend” is a trio piece that includes more slippery, propulsive bass lines and some wonderfully effusive soloing from Lodder on acoustic piano and Waterman on trumpet.

“Firefly” is a quartet item that features the distinctive sound of Waterman’s muted trumpet and the interlocking rhythmic patterns of Crosland, Lodder and Hart. As alluded to previously Threeway’s music is often far more rhythmic than the “chamber jazz” tag routinely applied to them would suggest. This is a fine example of their subtle strength with iridescent solos from Hart and Waterman adding to the overall appeal.

Waterman’s second compositional offering is “Blue Butterfly”, a lovely slow ballad featuring the composer’s gracefully melodic lines alongside suitably sympathetic and lyrical piano and bass. 

“Slow Train Home” is a further blending of blues, funk and soul elements with the group’s chamber jazz aesthetic, a subtle meld featuring Lodder’s electric keyboards augmented by Hart’s vibes. Lodder, Hart and Waterman exchange solo ideas subtly prompted by Crosland’s underpinning bass.

The lively, swinging “Sting In The Tail” begins with a brief passage of solo piano but quickly becomes a showcase for Waterman’s trumpet skills. Lodder then takes over, buoyed by Crosland’s propulsive bass lines before Waterman returns with some more bravura trumpet playing.

The first twelve tracks on the album were recorded in March and April 2013. For the closing “Hymn For Christmas” Crosland goes back to a session from 2008 and reprises a tune that originally appeared on the “Songs Of The Year” album. Here performed by Lodder as a solo piano piece it’s a gently elegiac conclusion to a typically excellent album.

Threeway are among the best exponents of the “chamber jazz” idiom and their albums and live performances are more varied and vivacious than one might initially suspect. The three core members are excellent players and composers and the tunes gathered here offer both strong melodic content and plenty of scope for improvisation by three masters of the genre. The judicious use of electric instruments adds to the breadth of the group’s sound and the addition of Hart’s vibes brings even more colour and rhythmic impetus, he’s an inspired choice as a guest and the success of his contribution suggests that Threeway may consider working with other guest musicians in the future. I can imagine certain guitarists working well within this format for example.

In the meantime this typically well crafted album offers the opportunity for listeners to enjoy Threeway’s delicate strengths as the group celebrate ten years of subtly creative music making.   

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